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Melvin, Michael John. "Tonal harmonic syntax and guitar performance idiom in two mid-seventeenth-century Italian guitar books by Angelo Michele Bartolotti (c. 1615--after 1682)." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278814.
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Since the 1960s the publications of American musicologist Richard Hudson, along with recent articles by other scholars, have shown the five-course Spanish guitar to have been at the forefront of harmonic innovation in the early seventeenth century. Existing publications in this area, however, deal exclusively with guitar music in the rudimentary battuto strumming style and do not address the development of harmonic language in guitar music after circa 1630. From circa 1630 the battuto style gave way to a new guitar idiom that combined both strumming and plucking, thus affording guitarists the opportunity to incorporate more sophisticated harmonic devices into their music. This thesis endeavors to furnish a preliminary case study on the development of harmonic language in guitar music after circa 1630 by tracing the evolution of a tonal harmonic syntax in minor-mode Allemandes from two mid-seventeenth-century guitar books by Bolognese guitarist Angelo Michele Bartolotti (c. 1615--after 1682).
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Bert, Alison. "The influence of Flamenco on the guitar works of Joaquin Turina." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185487.
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Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Homenaje a Tárrega, Op. 69 (1932): Garrotin, Soleares. (TABLE ENDS)
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James, Douglas Goff. "Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.
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Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteenth-century. This study is in two parts. The first will present as concise a biography as possible, particularly regarding Legnani's concert itineraries, contributions to guitar construction, and relationship with Paganini. An examination of little-known contemporary reviews of his performances will serve as a means of both documenting his concertizing and developing a concept of Legnani's performance style. The second part, an annotated performance edition of selections from Legnani's most famous composition, 36 Capricci per tutti i tuoni maggiori e minori, opus 20, will provide a basis for the understanding and successful performance of Legnani's music by modern guitarists. In conclusion, Legnani's unique contributions to both guitar composition and construction are reevaluated, and an up-to-date list of compositions appended.
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Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.
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Hodges, Jeff. ""Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28430/.
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Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.
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Willett, Toby T. "California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.
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Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.
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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the <i>Académie de Poésie et de Musique</i>), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the <i>ballet de cour</i>, to dance forms, and to solo instrumental styles such as <i>stile brisé</i> are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the <i>air de cour</i> commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the <i>voix de ville</i> to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.
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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.
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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.
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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown.
This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam.
The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players.
Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.
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Wright, Brian F. "How the Electric Bass Became the Norm: An Alternative History of American Popular Music, 1951-1964." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case151084623256552.
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Bidgood, Lee, Trae McMaken, and Roy Andrade. "Performance at Historic Jonesborough Dance Society Contra Dance." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3260.
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Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
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This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.<br>School of Music
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Pierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.
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Pierce, Justin. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.
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Todd, Richard. "The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3606/.
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The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
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Binder, Fernando Pereira. "Profissionais, amadores e virtuoses: piano, pianismo e Guiomar Novaes." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-13092018-153941/.
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Esta pesquisa estuda a atividade pianística no século XIX e início do século XX no Rio de Janeiro e em São Paulo. Inscrito no campo da história social da música, o trabalho problematiza a afirmação segundo a qual a disseminação do piano, seu ensino e seu cultivo foram resultado de uma exigência social imposta às mulheres em função do matrimônio e da maternidade. Como, então, uma atividade descrita como mero verniz cultural produziu uma pianista como Guiomar Novaes? Os objetivos da pesquisa foram investigar as práticas musicais pianísticas amadoras em São Paulo e desvendar a mobilização de mulheres, estrangeiros e repertórios musicais como ferramenta de modernização cultural durante a Belle Époque paulista. Como ferramenta analítica uso o conceito de mundo artístico de Howard Becker, cujo objetivo é compreender a complexidade das redes de cooperação que produzem obras de arte. Para Becker, a arte é fruto do trabalho coletivo feito de maneira rotineira que produz padrões de atividade coletiva. Ao analisar a reputação de um artista poderemos reconstruir os padrões de funcionamento e a atuação dos diferentes participantes daquele mundo artístico na criação daquela reputação. Logo, o exame da criação da reputação de artista de Guiomar Novaes alcançada em 1915 deve revelar o modo de funcionamento do mundo do piano paulistano. O trabalho organiza-se em duas partes: a primeira trata do surgimento do mundo do piano no Rio de Janeiro. Nela estudo as convenções musicais embutidas no próprio piano, sua ligação com a assimilação da cultura letrada europeia, o papel dos comerciantes e impressores de música, e também estudo como raça, gênero e classe ajudaram a conformar o amadorismo e profissionalismo na primeira metade do século XIX, e o papel da Igreja e do Estado nesse processo. A segunda parte conta a história do pianismo paulistano. Nos dois primeiros capítulos retomo os temas do comércio do instrumento, seus espaços de difusão e seus participantes e analiso o repertório de Guiomar Novaes entre os anos de 1902 a 1915. Os dois últimos capítulos analisam a operação do mundo do piano na criação da reputação de Guiomar Novaes. A análise da reputação de Guiomar Novaes revelou o funcionamento do mundo do piano paulistano. A análise também revela atores e relações sociais mais complexas do que amadoras frustradas e concertistas internacionais. A exigência do aprendizado musical criou um mercado para professoras e professores, estimulou o comércio, a crítica e o periodismo musical. Ao dar caráter público à apresentação de suas alunas, o italiano Luigi Chiaffarelli, professor de Guiomar Novaes, conseguiu criar um público regular, especializado e socialmente influente. Enquanto a menina estudava, seu professor e o jornalista Gelásio Pimenta mobilizaram recursos humanos e materiais, públicos e privados necessários ao desenvolvimento da carreira dela. A consagração de Guiomar no exterior provava à elite da Belle Époque paulistana o sucesso do seu projeto de modernização, São Paulo rivalizava com as nações \"civilizadas\". No Brasil, os recitais de Guiomar criavam oportunidades para a plateia experimentar sentimentos patrióticos de forma pessoal, fortalecendo laços com uma nova identidade nacional.<br>This research explores pianistic activity in Rio de Janeiro and Sao Paulo in the nineteenth and early twentieth centuries. Pertaining to the social history of music, this study problematizes the assertion that the dissemination of the piano, its teaching and its cultivation were the result of a social requirement imposed on women by marriage and maternity. How, then, could an activity described as mere \"cultural veneer\" produce a pianist like Guiomar Novaes? The objectives of this research were to investigate the amateur pianistic musical practices in Sao Paulo and unveil the mobilization of women, foreigners and musical repertory as implements for cultural modernization during the Belle Epoque of Sao Paulo. As an analytical tool, I use Howard Becker\'s concept of the \"artistic world,\" the objective being to understand the complexity of the cooperation networks that produce works of art. For Becker, art is the fruit of collective work done routinely, which, in turn, produces patterns of collective activity. In analyzing the reputation of an artist, we can reconstruct the role-patterns and actions of the different participants of a particular artistic sphere in the creation of his or her reputation. Therefore, the examination of the creation of Guiomar Novaes\' reputation, as firmly established already in 1915, should certainly reveal the workings of the pianistic realm of Sao Paulo. The work is organized in two parts: the first deals with the emergence of the piano and its cultivation in Rio de Janeiro. Here, I examine the musical conventions surrounding the piano itself, its connection with the assimilation of the literate culture of Europe, the role of music merchants, editors and printers, and also the roles of race, gender and class which helped to form both amateurism and professionalism in the first half of the nineteenth century. I also study the participation of the church and government in this process. The second part tells the story of the piano in Sao Paulo. In the first two chapters of this section I return to the themes of the piano and commerce, the spreading of the piano\'s popularity and its performers. I also analyze the repertory performed by Guiomar Novaes from 1902 to 1915. The last two chapters analyze the contribution of the piano\'s cultivation in the creation of Guiomar Novaes\' reputation. The analysis of her reputation, in turn, reveals the mechanisms of the piano\'s cultivation in Sao Paulo. It also reveals complex social roles and relationships that are more than mere descriptions of frustrated amateurs and international performers. The demand for musical learning created a market for teachers and stimulated trade, criticism and musical journalism. Through the public performances of his students, the Italian Luigi Chiaffarelli, one of Guiomar Novaes\' teachers, was able to create a consistent, specialized and socially influential audience. Even as the young Guiomar practiced, her teacher and journalist Gelasio Pimenta mobilized human and material resources, both public and private, which were critical for the development of her career. Guiomar\'s consecration abroad was held as proof to Sao Paulo\'s Belle Epoque elite of the success of its modernization project, showing that Sao Paulo rivalled \"civilized\" countries. In Brazil, Guiomar\'s recitals created opportunities for audiences to experience deep and personal patriotic feelings, thus strengthening the bond with a new national identity.
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Apro, Flavio. "Folias de Espanha: o eterno retorno." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-27102010-142724/.
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Esta tese focaliza a trajetória do tema musical Folias de Espanha, que constitui um dos mais notáveis fenômenos na musicologia devido à sua permanente recorrência na História da Música. Nosso objetivo foi ampliar o escopo interdisciplinar de estudo e de reflexão musicológica através da compreensão da utilização do tema na História da Música e sua historiografia, a fim de enriquecer o horizonte de nossa prática acadêmica. A Folias de Espanha é uma melodia simples e de caráter enigmático que surgiu em Portugal no início do século XVI como uma dança selvagem popular das ruas que teve sua estrutura rítmica e harmônica modificadas ao passar pela Espanha. Da península ibérica, migrou para a Itália e foi levada por guitarristas italianos à corte francesa, transformando-se ali em uma dança majestosa. Sua história a partir desse itinerário é complexa e reflete sua grande popularidade, pois ela ainda constitui grande fonte de inspiração para diversos compositores, desde nomes consagrados como Bach, Beethoven e Liszt, até trilhas compostas para filmes comerciais. Outros temas musicais apresentam a mesma recorrência histórica, como por exemplo, o hino católico Dies Irae do século XIII ou o tema do Capricho N.24 de Paganini, mas a retomada da Folias de Espanha como tema musical é a mais recorrente na História da Música.<br>This thesis focuses on the trajectory of the theme Spanish Folias, which is one of the most remarkable phenomena in musicology due to its permanent recurrence in music history. Our goal was to broaden the scope of interdisciplinary study and musicological reflection through the understanding of the use of the theme in music history and its historiography, in order to enrich the horizon of our academic practice. The Spanish Folias is a simple melody with enigmatic character that first appeared in Portugal in the early sixteenth century as a wild popular street dance that had its rhythmic and harmonic structure modified by passing through Spain. From the Iberian Peninsula, it traveled to Italy and was taken by Italian guitarists to the French court, becoming into a majestic dance. Its history starting from this itinerary is complex and reflects its great popularity, since it still constitutes a great source of inspiration for several composers, since renowned names such as Bach, Beethoven and Liszt, until soundtracks composed for commercial movies. Other musical themes display the same historical recurrence, as for example, the XIII century catholic hymn Dies Irae or Paganinis Caprice N.24, but the resuming of Spanish Folias as musical subject is the most recurrent in the History of Music.
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Romão, Paulo César Veríssimo [UNESP]. "A guitarra clássico-romântica: história dos métodos de um instrumento." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/90234.
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romao_pcv_me_ia.pdf: 10893333 bytes, checksum: 6889a353402b29b76dea4bf7556c1cdd (MD5)<br>Universidade Estadual Paulista (UNESP)<br>Esta dissertação tem como foco a Guitarra Clássico-Romântica, antecessora direta do violão moderno. Procuramos verificar, através de uma pesquisa de cunho bibliográfico, o processo de surgimento e as progressivas transformações pelas quais passou este instrumento. Para tanto, valemo-nos da metodologia de pesquisa histórica proposta pela historiografia francesa, em particular, a História das Mentalidades. Iniciamos este trabalho com um levantamento das questões significativas para os indivíduos europeus no período entre a Revolução Francesa e a primeira grande guerra. Mais especificamente, a primeira parte deste trabalho visa a compreensão das fronteiras entre o público e o privado, e do processo de formação do indivíduo como ator social. A segunda parte da pesquisa é dedicada aos processos de confecção da Guitarra Clássico-Romântica, às personagens envolvidas com este instrumento, e, fundamentalmente, aos Métodos escritos para ele. Através da avaliação dos Métodos, procuramos compreender as idéias que permeavam a composição e a execução para Guitarra no século XIX. A terceira parte tem caráter reflexivo, e avalia o ocaso da produção de Métodos a partir do século XX, o advento da “técnica estendida”, bem como se propõe a refletir sobre a etimologia dos termos “técnica”, “escola” e “tradição”. Esta pesquisa justifica-se pela necessidade de constituição histórica do instrumento mais numerosamente encontrado nas Américas, bem como pela possibilidade de compreensão dos mecanismos sociais através dos quais um instrumento, um instrumentista ou um Método perdura, tornando-se parte da História. Não obstante, esta pesquisa estende-se ao âmbito da musicologia histórica, uma vez que, para o concerto de defesa, executaremos peças do repertório novecentista com uma réplica da Guitarra Clássico-Romântica<br>This dissertation has the Classic Romantic Guitar as a theme. This instrument is the immediate antecedent of the modern guitar. Our aim is to verify, through a bibliographic research, the process of birth and transformations suffered by this instrument. Therefore, we adopted a methodological background from the French historiography, called History of Mentalities. The present research starts gathering the most meaningful questions for a nineteenth century persona, more precisely in the period between the French Revolution and the First World War. Thus, the first part of this essay seeks to comprehend questions like the frontiers between the public and the private aspects of live, and the perception of an individual as a social actor. In the next moment, we quest to unravel the procedures of construction of the Classic Romantic Guitar, as well as identify the people involved, and most closely, the Methods written for this instrument. Through the evaluation of these Methods, we look for understanding on the ideas that guided the composition and the guitar performance during the nineties. The final part of the essay is more reflexive, and analyses the desertion of the publications of Methods from the twentieth century, the creation of the “extended technique”, and reflects about the terms “school”, “technique” and “tradition”. This research is justified by the necessity of a historical establishment for the most frequently found instrument in all Americas, and by the possibility to comprehend the means through which an instrument, a performer or a Method resists to time, and become part of History. Finally, this research extends itself to the field of historical musicology, since the last concert presented as part of this Masters will be performed on a replica of a classical-romantic guitar
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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.
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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument.
During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment.
This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.
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Waschka, R. 1958. "Let Me Make it Simple for You." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331223/.
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Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.
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Paget, Jonathan. "The guitar music of Peter Sculthorpe /." Digitized version, 2003. http://hdl.handle.net/1802/5358.
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Thesis (D.M.A.)--University of Rochester, 2003.<br>Includes vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5358
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Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.
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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.<br>https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg
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Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.
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Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.
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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
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Olson, Ted. "The Guitar: ‘An Orchestra Unto Itself'." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.
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Burlet, Gregory. "Automatic guitar tablature transcription online." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117224.
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Manually transcribing guitar tablature from an audio recording is a difficult and time-consuming process, even for experienced guitarists. While several algorithms have been developed to automatically extract the notes occurring in an audio recording, and several algorithms have been developed to produce guitar tablature arrangements of notes occurring in a music score, no frameworks have been developed to facilitate the combination of these algorithms. This work presents a web-based guitar tablature transcription framework capable of generating guitar tablature arrangements directly from an audio recording. The implemented transcription framework, entitled Robotaba, facilitates the creation of web applications in which polyphonic transcription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, resulting in a unified system that is capable of transcribing guitar tablature from a digital audio recording and displaying the resulting tablature in the web browser. The performance of the implemented polyphonic transcription and guitar tablature arrangement algorithms are evaluated using several metrics on a new dataset of manual transcriptions gathered from tablature websites.<br>Transcrire à la main une tablature pour guitare à partir d'un enregistrement audio est un processus difficile et long, même pour les guitaristes chevronnés. Bien que plusieurs algorithmes aient été créés pour extraire automatiquement les notes d'un enregistrement audio, et d'autres pour préparer des arrangements de notes de tablature pour guitare tels qu'on les retrouve dans la création musicale, aucun environnement n'a été mise en place pour faciliter l'association de ces algorithmes. Le travail qui suit présente un environnement accessible sur l'Internet, permettant la transcription et la préparation d'arrangements de tablatures de guitare, directement à partir d'un enregistrement audio. Cet environnement de transcription, nommée Robotaba, facilite la création d'applications Web, dans lesquelles la transcription polyphonique et les algorithmes d'arrangements de tablature pour guitare peuvent être intégrés. Une telle application Web permet d'obtenir un système unifié, capable de transcrire une tablature pour guitare à partir d'un enregistrement audio numérique, et d'afficher la tablature obtenue dans un navigateur Web. La performance de la transcription polyphonique mise en place et des algorithmes d'arrangements de tablature pour guitare est évaluée à l'aide de plusieurs paramètres et d'un nouvel ensemble de données, constitué de transcriptions manuelles recueillies dans des sites Web consacrés aux tablatures.
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Fugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.
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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:
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Ferguson, Sean W. "The guitar in lexica: the development of the guitar as reflected in general and musical dictionaries and encyclopedias, 1611-1890." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730273.
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Lawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.
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Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Pinta, Kristen Janet. "Inclusion strategies for the high school guitar class." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523263.
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<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>
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Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Thesis (D.M.A.)--UCLA, 2007.<br>Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).
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Taylor, John Wesley. "Hillbillies and sharecroppers : an introduction to East coast and Mississippi blues styles /." Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=99.
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Thesis (M.A.)--Marshall University, 2002.<br>Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).
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Trancart, Vinciane. "Accords et désaccords. Pratiques et représentations de la guitare à Madrid et en Andalousie de 1883 à 1922." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030100/document.
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À la charnière entre les XIXe et XXe siècles, alors que la question de l’identité nationale se pose avec acuité en Espagne, la guitare y est à maintes reprises évoquée comme « l’instrument national ». Ce lieu commun se révèle finalement être un symbole paradoxal d’une identité encore en débat. Tandis que le cliché caricature la réalité en la simplifiant, les pratiques de la guitare se diversifient au contraire pendant la Restauration, en raison des transformations techniques de l’instrument et de l’évolution de la musique populaire, classique et flamenca. La composition en 1920 par Manuel de Falla de la première pièce pour guitare soliste (Hommage à Debussy) et l’organisation du Premier Concours de Cante Jondo à Grenade en 1922 attestent la progressive reconnaissance de l’instrument. Pourtant, la multiplication des imprimés, favorisée par la loi de liberté de la presse (1883), donne lieu à de nombreuses représentations littéraires et plastiques de la guitare qui ne reflètent pas fidèlement ces mutations. Elles mettent surtout en lumière son caractère populaire, andalou, voire flamenco, et sa capacité à imprégner l’imaginaire. Publiées dans des périodiques andalous ou madrilènes, ces œuvres influencent la réception de l’instrument : celui-ci est à la fois apprécié par un public de plus en plus large, méconnu car il est absent des musées et des institutions, et rejeté selon des critères sociaux et moraux en raison de sa présence dans des lieux décriés. Pourtant, même lorsque le stéréotype est contesté, la guitare revêt une dimension symbolique originale, ancrée dans le quotidien, qui se manifeste à travers l’émotion qu’elle suscite<br>During the transition from the nineteenth to the twentieth centuries, when the question of national identity is continuing to develop in Spain, the guitar is repeatedly mentioned as the “national instrument”. This platitude ultimately proves to be a paradoxical symbol of an identity that is still under debate during this period. While stereotypical descriptions caricature the reality by oversimplifying it, on the contrary, guitar practices diversify during the Restoration, because of technical changes in the instrument and the evolution of folk, classical and flamenco music. The composition in 1920 by Manuel de Falla of the first piece for solo guitar (Homenaje a Debussy) and the organization of the First Contest of the Cante Jondo in Granada in 1922 testify to the gradual recognition of the instrument. Yet the proliferation of printed matter, favored by the freedom of the press law (1883), gives rise to numerous literary and visual representations of the guitar that do not accurately reflect these changes. They mostly bring out its popular, Andalusian and even flamenco character, and its ability to impregnate the imagination. Published in periodicals in Madrid or Andalusia, these works influence the reception of the instrument: it is both appreciated by an increasingly wide audience, disregarded for being absent from museums and institutions, and rejected by social and moral standards because of its presence in decried places. Yet, even when this stereotype is disputed, the guitar takes on an original symbolic dimension, rooted in everyday life, which manifests itself through the emotions it provokes<br>En la bisagra entre los siglos XIX y XX, cuando la cuestión de la identidad nacional se planteaba con intensidad en España, se aludió muchas veces a la guitarra como el “instrumento nacional”. Este lugar común aparece como un símbolo paradójico de una identidad todavía en debate. Mientras que el cliché caricaturiza la realidad simplificándola, las prácticas de la guitarra, por el contrario, se diversificaron durante la Restauración, debido a las transformaciones técnicas del instrumento y a la evolución de la música popular, clásica y flamenca. La composición en 1920 por Manuel de Falla de la primera obra para una guitarra solista (Homenaje a Debussy) y la organización del Primer Concurso de Cante Jondo en Granada en 1922 dan fe del progresivo reconocimiento del instrumento. Sin embargo, la multiplicación de los impresos, favorecida por la Ley de Policía de Imprenta (1883), dio lugar a numerosas representaciones literarias y plásticas de la guitarra que no reflejaban fielmente esas mutaciones, sino que destacaban, sobre todo, su carácter popular, andaluz e incluso flamenco, y su capacidad de impregnar todo el imaginario colectivo español. Publicadas en periódicos andaluces o madrileños, estas obras influyeron en la recepción del instrumento que, apreciado por un público cada vez más amplio, resultaba también desconocido, por su ausencia en museos e instituciones, al mismo tiempo que era rechazado según criterios sociales y morales por su presencia en lugares considerados deshonrosos. No obstante, incluso cuando se critica el estereotipo, la guitarra posee una dimensión simbólica, enraizada en lo cotidiano, que se manifiesta a través de la emoción que suscita
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Casallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.
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How can I, as a leader, keep the motivation of the participants in a group? When I started to write this report, I was focused on, how a group could affect the participants motivation of the participants, but little by little I realized that the biggest motivation came from that this group affected mostly my own motivationmyself. The guitar orchestra has given me the opportunity to learn and it has given another sense to my knowledge as musician and teacher. Analysing what I have done with the guitar orchestra has awakened more questions than answers. What exactly did I do? Why did I do it? Was it really effective? This written part of my project at KMH describes how, together with my colleagues, we have organized an orchestra of guitars in Avonia music institute based in Espoo, Finland and how this group and my own motivation have affected the motivation of the participants.<br>Making Music with a guitar orchestra
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Yim, Gary. "Affordant Chord Transitions in Selected Guitar-Driven Popular Music." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308075022.
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Davis, Evan Brugh. "On the structural and acoustic design of guitar soundboards /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/7116.
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Silva, Vinicius Maurício Queiróz Hipólito da. "Três momentos do violão solista em Goiânia." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8994.
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Previous issue date: 2018-07-10<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>In preliminary researches we have noticed the existence of a significant tradition of guitar solo in the city of Goiânia still rarely addressed in scientific papers. Thus, the present study presents a historical narrative of this musical practice during the period that covers the end of the 19th century until nowadays. This time frame was split into three stages, defined according to the acute transformations of the guitar solo activity in the city. It was elected for each of these stages one representative composer, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) and Estércio Marquez Cunha (1941-), whose compositions was examined in the last part this research. This research has been divided into four chapters: I – The guitar consolidation process in concert music in Brasil; II – The guitar solo in the city of Goiânia; III – Evaluation and analysis of works and Final considerations. As background of our historical approach we have used the concepts of some authors of Cultural History, such as Bakhtin, Pesavento, Freire and Burke. For the musical analysis, addressed in chapter 3, we have used Nattiez’s theory.<br>Em pesquisas preliminares notamos a existência de uma relevante tradição do violão solista na cidade de Goiânia ainda muito pouco discutida em trabalhos científicos. Desta forma, esta pesquisa apresenta uma narrativa histórica da trajetória desta prática em um recorte temporal que abrange o período final do séc. XIX até a atualidade. Todo este intervalo de tempo foi dividido em três momentos, definidos a partir das transformações mais agudas identificadas com relação ao violão solista nesta cidade. Foi eleito para cada um destes momentos um compositor representante, a saber, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) e Estércio Marquez Cunha (1941-), cujas obras foram analisadas na última etapa deste trabalho. A pesquisa foi dividida em quatro capítulos: I – O processo de consolidação do violão na música de concerto no Brasil, II – O violão solista na cidade de Goiânia, III – Apreciação e análise das obras e Considerações Finais. Como pano de fundo de nossa abordagem histórica fizemos uso de alguns dos conceitos de teóricos da História Cultural, como Bakhtin, Pesavento, Freire e Burke. A análise musical teve como arcabouçou teórico a abordagem de Nattiez.
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Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.
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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.
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Bower, Rudi. "A historic-hermeneutic critique of luthiery with specific reference to selected South African guiter builders." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/779.
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This study uses a general historical overview of luthiery that provides the reader with a basic understanding of construction techniques and terminology as a point of departure. From the outset the lack of consensus over an ideal or desired construction technique is highlighted. However, Torres is credited with the establishing of a perceived Spanish tradition of guitar construction and acknowledged as the “father” of the modern guitar. This will serve as a basic framework in which a discussion of six prominent past and present international luthiers can occur. These luthiers, namely Antonio de Torres, Hermann Hauser, Robert Bouchet, Daniel Friederich, Jose Romanillos and Greg Smallman are included in this study by virtue of their influence on the South African luthiers that are featured here. It is noted that these six luthiers, with the exception of Greg Smallman, all adhere to the “Spanish tradition” of guitar construction. Smallman can be considered a foremost proponent of a more recent “modern” school of guitar construction characterized by various innovative construction techniques. These are a result of new demands placed on the guitar as performance instrument because of larger concert venues and more collaboration with different instruments, resulting in a need for a stronger tone and more projection and penetration in sound. These two “poles” of luthiery are then manifested in the discussion on the seven featured South African luthiers. Alistair Thompson, Colin Cleveland, Mervyn Davis, Garth Pickard, Marc Maingard, Rodney Stedall and Hans van den Berg are discussed with special mention made of the features of their instruments, woods used and thoughts on luthiery, against the backdrop of their biographies. The four South African luthiers who build within the “Spanish tradition” (Pickard, Maingard, Stedall and Van den Berg) are distinguished from the three who build outside this so-called tradition (Thompson, Cleveland, Davis). South African luthiery is therefore shown to be an accurate microcosm of luthiery in global terms with styles of construction ranging from very “traditional” to very “modern”. The critical reflection on the information contained in this study appears in the form of a hermeneutic critique on luthiery that occurs within the parameters of the thought of two prominent hermeneutic thinkers, Martin Heidegger and his student, Hans-Georg Gadamer. It is shown that the collaboration that often occurs between guitar makers and performers can be related back to Gadamer and his analysis of Heidegger’s notion of the the hermeneutic circle. It is also argued that luthiery as practiced by the international and South African luthiers featured in this study can be seen both as art and technology in ancient Greek terms in that they are both a mode of revealing. Finally, it is shown how luthiery in its entirety can be viewed as a tradition and that different luthiers respond and add to this tradition in various ways.
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Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.
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This thesis demonstrates the need for and the importance of developing a comprehensive curriculum for the intermediate steel-string guitarist and provides a method to fill this need. The method is not specific to any one musical style and will serve to offer information necessary for the performance of music in any idiom. The lack of material presently available for the intermediate guitarist leaves them without proper musical guidance during this significant stage of their learning curve. The use of this method will help the prospective student to grow both as a guitarist and a musician.
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Klčo, Michal. "Electric Guitar to MIDI Conversion." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.
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Automatický přepis hudby a odhad vícero znějících tónu jsou stále výzvou v oblasti dolování informací z hudby. Moderní systémy jsou založeny na různých technikách strojového učení pro dosažení co nejpřesnějšího přepisu hudby. Některé z nich jsou také omezeny na konkrétní hudební nástroj nebo hudební žánr, aby se snížila rozmanitost analyzovaného zvuku. V této práci je navrženo, vyhodnoceno a porovnáváno několik systémů pro konverzi nahrávek elektrické kytary do MIDI souború, založených na různých technikách strojového učení a technikách spektrální analýzy.
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Ortiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.
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Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar.
This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the instrument. Sonata III is Compeán’s most ambitious guitar composition and one of the most important twenty-first century contributions to the Mexican guitar literature. This research focuses on the production of a performing edition of Sonata III. This research also includes a comprehensive analysis of Compeán’s solo guitar music to provide context for guitarists so that they can better understand the composer’s style.
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McCallie, Michael. "A survey of the solo guitar works written for Julian Bream." Thesis, The Florida State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10000626.
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<p> The purpose of this treatise is to present a survey of the solo guitar works written for Julian Bream and to illuminate their historical significance and lasting importance to the guitar repertoire. For each piece, this treatise provides a brief biographical sketch of each composer, a survey of the relevant literature and, where necessary, a brief theoretical analysis. At the end of each section, a “Performer’s Note” has been included, which details the specific difficulties of performing each piece. Hopefully, this treatise will provide guitarists interested in the pieces written for Julian Bream a reference for performance and study.</p>
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Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.
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This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.
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Serce, Andrew J. "A POST-TONAL ANALYTICAL APPROACH TO SYNCHRONISMS NO. 10 FOR GUITAR AND TAPE BY MARIO DAVIDOVSKY." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/97.
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Mario Davidovsky is an American composer who was born in Buenos Aires, Argentina on March 4, 1934. Beginning in 1958, he was a student of Aaron Copland at the Berkshire Music Center (currently the Tanglewood Music Center) in Lenox, Massachusetts. At Berkshire, he also met American composer, Milton Babbitt, who persuaded him to work at the Columbia-Princeton Electronic Music Center (currently the Computer Music Center at Columbia University) in New York City. Davidovsky was appointed Associate Director of the Columbia-Princeton Electronic Music Center in 1960 where he inevitably began experimenting with the relationships between live instruments and electronic sounds.
Synchronisms No. 10 for guitar and tape (1992) is a piece for solo classical guitar and pre-recorded synthesized sounds. The piece was dedicated to David Starobin, the current Professor of Guitar at the Manhattan School of Music, who also edited the guitar part. This particular piece in the Synchronisms series shows that Davidovsky is aware of the limitations of the guitar in regard to dynamic range and decay of sound. Knowing these limitations, Davidovsky utilizes the various abilities of the instrument including its wide timbral range and use as a percussive medium. Although Davidovsky himself has been quoted as not using pitch-class sets of any kind, a post-tonal analysis can be applied to this piece in order to further understand individual sections and interaction between guitar and recording. Also, a review of the performance techniques necessary to approach this piece, and how said techniques are implemented, will help the musician perform at a higher level.
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Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.
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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.
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Incze, Lajos. "Popular guitar pedagogy: fostering traditional musicianship in the culturally relevant classroom." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119382.
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Music education in North America remains loyal to the ideals, materials, and methodologies of a bygone era despite widespread calls for pedagogical change. Popular music has a limited role in schools although culturally relevant programming is increasingly important in modern contexts. Guitar class has the unrealized potential to reach those many students who are eager for music opportunities but unable to work within traditional formats. Guitar is motivational, inclusive, and relevant to students, and therefore has an appropriate place in the pluralistic classrooms of the twenty-first century. Unfortunately, a model is l lacking to bridge the gap between guitar performance, and materials from popular guitar-based genres, with traditional values of formal music education. Guitar instruction is consistently portrayed in opposition to, or as an alternative to, success in the time0homored priorities of school music. The question remains, then, as to if popular guitar performance can be reconciled with an emphasis on theory, literacy, and fine musicianship. This narrative study details a public school teacher's attempt to synthesize an original electric guitar curriculum for his middle school classes, one responsive to both academic and cultural concerns. Suggestions for concrete steps towards an achievement-oriented popular guitar pedagogy are presented, amidst the argument that such developments are feasible, necessary, and overdue.<br>L'éducation musicale en Amérique du Nord reste fidele aux idéaux, au matériel et aux méthodes d'une époque révolue, malgré de nombreux appels pour un changement pédagogique. La musique populaire a un rôle limite den les écoles, bien que des programmes culturellement pertinents soient de plus et plus important dans des contextes modernes. Les cours de guitare ont le potentiel inexploité d'atteindre ces nombreux étudiants qui sont désireux d'apprendre la musique, mais incapables de travailler dans un format traditionnel. La guitare est motivante, inclusive et pertinente pour les élevés, et a donc une place appropriée dans les groupes diversifies du vingt et unième siècle. Malheureusement, il existe un fosse ester les objectifs traditionnels et la musique populaire a la guitare. L'enseignement de la guitare est habituellement perçu comme une opposition, ou comme une alternative a la réussite scolaire. La question demeure donc a savoir si la guitare populaire peut être conciliée a la théorie et a la musicalité. Cette étude décrit comment un professeur d'école publique tente de synthétiser un programme de guitare électrique original qui répond aux besoins académiques et culturels. Des suggestion portant sur des mesures concrète ayant pour objectif d'atteindre une pédagogie tournée ver la réussite du cour sont présentées comme possibles, nécessaires et attendues.
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Dean, Alexander. "The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song /." Digitized version, 2009. http://hdl.handle.net/1802/1098.
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Thesis (Ph. D.)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978